SANTA FE — There should be 1000’s of tiny, pastel-colored, overlapping butterfly stickers in Amaryllis R. Flowers’s “Wayfinder” (2025). The irregularly formed work on paper, featured within the artist’s positively illuminating exhibition Pursuing Defeat at Hecho a Mano, additionally features a maze of black and white eyeball stickers, creating snaking trails which might be accented on occasion with plastic googly eyes. Within the nook of the scene, a bald, blue-skinned determine crouches earlier than a black abyss, eyes and mouth agape, holding a magenta-colored fiery torch. The art work’s excessive deckled edges recommend that this can be a peek into a bigger, endless story.
Haven’t we every felt like cowering in a nook when all eyes are on us and a plague of butterflies invades our stomachs? No, simply me? And but, the determine isn’t cowering. As a substitute, she’s trying up at her choices, wide-eyed, with that trusty torch to mild her method. “Calendar” (2025) depicts two related figures, feeling their method by means of a pink and purple cave, who encounter a gaggle of floating, disembodied blue heads — ghosts, ancestors maybe, or any otherworldly beings who appear simply as stunned to see the explorers because the explorers are to see them. In “Flashlight” (2025), electrical blue-purple gouache and glitter on black paper compose layers of underground tunnels in what is perhaps a diamond mine. Nude our bodies slither previous heart-shaped faceted gems, whereas others stand en masse, wielding pole axes. A big face snarls and opens her mouth to expel flames.
These three works and extra showcase a creative apply that “creates an environment of psychic revolt, allowing us to take pleasure in spaces we’ve been taught to feel ashamed,” writes Flowers, who identifies as queer and Puerto Rican-American.
Amaryllis Flowers, “No Man’s Land” (2023), acrylic, blind embossment, airbrush, gouache, collage, and craft supplies on archival paper
The storytelling and world-building qualities of her work profit from the immersive nature of set up, however the choice of singular works in Pursuing Defeat serves as an attractive sampling, like pages from a feminist fairytale or screenshots of a femme fantasy online game. In her 2023 Joan Mitchell Basis “In the Studio” interview, Flowers says that she thinks about monster mythology and autonomy as they relate to the all-too-human expertise of feeling undesirable and misplaced: “So for those people who struggle with feeling like they shouldn’t be here, I just want to make work that helps them feel like they want to die less, or even just the willingness to be alive more.”
Flowers reveals her monstrous empathy and lust for all times in her drawings by means of prismatic, fantastical depictions of colourful towering figures with third eyes and big tongues; spaceships hovering above rugged terrain and dashing rivers; collections of bejeweled instruments, weapons, and pointy guitars. Her beneficiant use of iridescence in works similar to “No Man’s Land” (2023) alerts a resistance to 1 state of being and as an alternative embodies a dynamic, shapeshifting sensual power. Plastic letter beads, charms, an identical miniature child bottles, and faux enamel add mass enchantment to “Feel Good Forgotten Map for Falling Through the Cracks” (2025). The 2 brown-skinned girls in “ENTER GAME” (2025), surrounded by shimmery iridescent streamers, stand their floor and maintain both finish of an outsized furcula, poised to interrupt the “rules” and make a want.
Amaryllis Flowers, “Calendar” (2025), gouache, airbrush, acrylic, and craft supplies on archival paper
Amaryllis Flowers, “Flashlight” (2025), gouache and glitter on archival paper
Amaryllis Flowers, “ENTER GAME” (2025), acrylic medium, gouache, watercolor, airbrush, and craft supplies on archival paper
Amaryllis Flowers, “COMPASS” (2015), artificial human hair, Jacquard loom, black thread
Pursuing Defeat continues at Hecho a Mano (129 West Palace Avenue, Santa Fe, New Mexico) by means of March 3. The exhibition was organized by the gallery.
